Venezuela has the largest proven oil reserves in the world. It was once so rich that Concorde used to fly from Caracas to Paris. But in the last three years its economy has collapsed. Hunger has gripped the nation for years. Now, it’s killing people and animals that are dying of starvation. The Venezuelan government knows, but won’t admit it!!! Four in five Venezuelans live in poverty. People queue for hours to buy food. Much of the time they go without. People are also dying from a lack of medicines. Inflation is at 82,766% and there are warnings it could exceed one million per cent by the end of this year. Venezuelans are trying to get out. The UN says 2.3 million people have fled the country - 7% of the population.

Friday, September 9, 2011

Indie Filmmakers Are Now Soliciting Fans For Funding Online...

When backing dollars fail, small-budget moviemakers are starting to turn to crowd-funding for help, but can the strategy go mainstream?
Award-winning documentary director Jennifer Fox had just wrapped production on her new film, My Reincarnation, when she got one of those 'bad news' calls.

'One of our backers suddenly couldn't come through with their commitment,' she recalls. 'Our film was finished, about to go out to festivals, and suddenly we had a $100,000 hole.' With creditors at the door, Fox did what indie filmmakers are increasingly doing to get their movies made: crowd-funding. She went online and asked her fans for money. On Kickstarter.com, the largest crowd-funding site, she asked for $50,000 in donations. She got $150,000.

Fox isn't alone. Film editor Christopher Salmon raised $161,000 online to fully finance his directorial debut, an animated short based on Neil Gaiman's story The Price. Famed mumblecore director Andrew Bujalski raised $50,000 toward his new feature, a 1980s drama set in the world of computer chess.

STORY: Toronto 2011 Critics Preview: Why the Festival Matters

Several entries at this year's Toronto International Film Festival got backing from Kickstarter, including the urban drama Pariah, from first-timer Dee Rees, and Gary Hustwit's city-planning documentary Urbanized. For the political doc Sarah Palin: You Betcha!, director Nick Broomfield asked fans for $30,000 to pay for distribution.

COVER STORY: David Cronenberg on How the $20 Million 'Dangerous Method' Got Made
In Europe, where state subsidies are an option, crowd-funding isn't as popular. But there are exceptions. Finnish director Timo Vuorensola raised $1.2 million of the $10 million budget for his Nazis-on-the-moon movie Iron Sky through his website Ironsky.net. Hotel Desire, an X-rated German sex drama, secured its $200,000 budget through a combination of online fundraising and corporate sponsorship.

Kickstarter, launched in 2009, has helped members raise a total of $32 million for film projects. The largest single amount was $345,000 for Blue Like Jazz, a religion drama based on Donald Miller's memoir. Kickstarter co-founder Yancey Strickler says he has had conversations with the major talent agencies and studios about using his site for larger projects. But he admits using just the crowd to raise even a $5 million budget would be a challenge. 'We aren't doing that kind of business,' says Strickler. 'At least not yet.'

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Toronto 2011: IM Global and Penny Black Team on New Financing Fund

Joint venture will focus on developing entertainment properties that have the potential for success in multiple media formats.

Powerhouse sales and financing company IM Global and New York-based investment firm Penny Black are teaming on The 1840 Fund, which will focus on developing entertainment properties that can play across multiple media platforms, whether movies, live events or digital media.

The combination of IM Global's eye for commercially viable content and Penny Black's financial resources and entrepreneurial edge is an exciting one. We're looking forward to sourcing some great projects together," said IM Global CEO Stuart Ford in announcing the joint venture with Penny Black executive chairman Lawrence Salameno.
The amount of the fund wasn't disclosed; nor was the first project.
Penny Black is the business of financing early stage innovation across multiple industries. We see content consumption commanding higher degress of flexibility, driven primarily by technology options," said Salameno.
Among its ventures, Penny Black has provided strategic financing for Kristin Hanggi's production company Wonder Falls Entertainment. Hanggi is the Tony Award-winning director of Rock of Ages, which is now being adapted for the big screen by Warner Bros.
We see content consumption commanding higher degrees of flexibility, driven primarily by technology adoption. At the same time, capital efficiency is accelerating the time and lowering the cost of bringing new ventures to market. Networks are essential to our thesis, strong resources, talent, and capital is critical and exemplified by top-tier partners like Stuart and IM Global," Salameno continued.
The 1984 Fund will look for properties such as Rock of Ages that can translate across different platforms. Another example is IM Global and parent company Reliance ADA's big-budget feature Walking with Dinosaurs, based on the wildly successful BBC television series and live event, and which they are making in partnership with BBC Worldwide and Evergreen Films.
The deal was negotiated on behalf of IM Global by executive vice president of motion picture finance Michael Roban and on behalf of Penny Black by managing director Eliot Durbin.
News comes on the eve of the Toronto Film Festival, where Ford will continue to sell foreign rights to Madonna's W.E., among other titles.

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Call your CA State Senator to PASS AB 1069 - Film tax incentives bill

<<<< whether you work on commercials (where we don't get tax incentives in CA), or other film mediums such as movies, where they do get tax incentives in this state... this is still a fight to keep jobs in California.. . please put the word out to your production families to support this: This is an update on the status of AB 1069 -- the bill to extend incentives for film and television production in California. Last week, the bill was passed out of the Senate Appropriations Committee. Unfortunately, its opponents amended it in an attempt to make it less effective while still being able to say they voted in favor of it. One amendment was to shorten the extension to one year, which drastically limits the ability of producers to plan ahead for filming in California. On Thursday, September 8, a delegation representing Hollywood unions and guilds will head to Sacramento to visit every member of the State Senate. They will be working to ensure that AB 1069 is passed with a three-year extension. We must all help in this effort. Since its inception in 2009, the state incentive program has had a direct impact on the creation of jobs. The single most important thing you can do to help increase the amount of work available to you and your fellow members is contact members of the Senate and urge them to approve AB 1069 for three years. Your letter need not be long but please try to include the phrase "When movie and commercial makers make films somewhere else, Californians lose their jobs." Please actually write a letter and fax it. Phone calls are great but a hand written, personal letter carries much more weight with these elected representatives. It could be as simple as the sample letter at the end of this message. It is especially important that any of our members living outside of Los Angeles participate. If you have family in Northern California or San Diego, ask them to help too. Explain how important this is to your livelihood. If you don't know who your Senator is, you can visit http://www.leginfo.ca.gov/yourleg.html In addition to your CA State senator, please send a letter to the Senate Pro Tem, Darrell Steinberg: fax number: 916-323-2263 and tel: 916-323-2263. If you don't have access to a fax machine, there are many online services that offer free or low-cost faxing. Try visiting sites such as http://faxzero. com/ The Senate must act on the bill by September 9, so we are asking that letters be sent starting TODAY Thursday, September 8. Make no mistake. This is your fight. Without incentives here, even more productions will leave for places such as Louisiana and New York (though we love you pro brothers and sisters!) - and the job that leaves with them could be yours. Act now to save California's film and television industry. Join the campaign for AB 1069 - to extend California's incentives for 3 years.<<<<< Have a great day ☼

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Toronto 2011: Canadian and European Producers Chase Buyers at Film Market

As Hollywood stars strut the red carpet in Toronto, local and foreign producers will be active behind velvet ropes beating the ferns for film buyers.

TORONTO -- Like paparazzi with their "Hey guys! Over here! Over here!" calls this week at the Toronto International Film Festival, Canadian and international producers will be battling for attention in Toronto amid the Hollywood glare.

•Toronto International Fil...
Cedric Jeanson of New York-based Filmbox, which is selling Matthew Goode's Burning Man internationally after its world premiere at TIFF, has just laid on another private screening Friday at Bell Lightbox.
"Lots of distributors have tracked the film. People have seen the footage, read the screenplay, they want to ensure the film works emotionally as a whole,"Jeanson explained.
Burning Man, directed by Jonathan Teplitzky, features Goode playing an English chef in Australia trying to put his life and his relationship with his son back together after a family illness, while surrounded by beautiful women.
CAA is repping the emotionally-driven drama for domestic rights.
"We'll see. The festival has been very supportive of the film. We're pretty hopeful that good distributors will respond strongly to it," Jeanson said.
Also hoping for an emotional reception from Toronto audiences and film buyers is Lebanese director Nadine Labaki, who is bringing her latest film, Where Do We Go Now?, to the festival after a Cannes bow.
"You never know how it happens. Sometimes it's completely unexpected. Until now, wherever we have screened the film, we've had positive reactions," Labaki said of the Lebanese village drama set against the backdrop of civil strife.
"People are surprised by the emotions they feel, as they go from laughter to tears. A normal audience who let themselves go to these kinds of emotions will respond positively," she added.
Labaki's debut film, Caramel, screened as a gala at TIFF in 2007.
Pathe' International will be shopping the international rights to Where Do We Go Now? in Toronto.
Indie maven Casian Elwes will be working U.S. distributors in Toronto to secure a theatrical release stateside for Edwin Boyd, Nathan Morlando's theatrical drama about a Canadian bank robber-turned-Toronto folk hero that stars Scott Speedman.
The indie pic, which stars Speedman as a gentleman bandit who rose to 1950s media fame in post-war Toronto for dramatic bank hold-ups and two prison breaks, was initially shopped to foreign buyers at the European Film Market in Berlin.
Then a movie trailer was shown to distributors in Cannes.
"Buyers will see the film for the first time at TIFF, and sales will begin in earnest," Edwin Boyd producer Allison Black of Euclid 431 Pictures said Thursday, ahead of a Saturday night bow in Toronto at Bell Lightbox.
Kirk D'Amico of Myriad Pictures is selling Edwin Boyd internationally.
Also on the Canadian front, there's U.S. buyers' heat around the National Film Board of Canada's highly-anticipated TIFF documentary, Pink Ribbons Inc., which exposes the North American-centered "pink ribbon" industry around breast cancer fed by corporations like Avon and pharmaceutical giants that have women and men walking, biking and running for a cancer cure as they are sold products with pink ribbons on them.
Pink Ribbon Inc., directed by Lea Pool, is a slow-build from an opening scene in San Francisco as thousands of mostly women prepare to run to raise money for a breast cancer cure, to cynical corporations awash in fund-raising proceeds talking about all they do to cure cancer.
"I felt the need to go from something not so bad to something I had to denounce," Pool said of the film's story arc.
Ravinda Din, who produced Pink Ribbon Inc., said the NFB documentary aims to start a new conversation about breast cancer after a pink ribbon campaigns that urge cancer sufferers to be bright and optimistic about a cure have produced no significant changes in mortality rates over the last 60 years.
"The film is not just about making the audience angry. Anger is the beginning of something, about changing things," Din said.
The Toronto International Film Festival continues through Sept. 18.

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Hollywood Pushes California Legislature For Filming Incentive Extension..

Lobbyists, including the Motion Picture Association of America, look to extend a $500-million tax credit to keep TV and film production in the state.
A coalition of Hollywood unions, moguls and lobbying groups are pushing the California state legislature to extend a five-year, $500-million tax credit to promote filming of TV shows and movies in the state. But the measure is getting push-back from some who feel the benefit to the entertainment industry is coming at the expense of college students, the sick and the poor, all of whom have seen government services cut as California faces a budget crunch.

A peerless ruling: MPAA wins $110 mil in TorrentSpy suit

Q&A: Meet New MPAA Chief Chris Dodd
The Los Angeles Times reports that the tax credit, which was originally passed in 2009 under Gov. Arnold Schwarzenegger, offers a rebate of up to 25 percent of qualified production expenses. The money goes to sales or business-use taxes, but isn't used to pay actor salaries.
The program was originally supposed to run through 2014, but $400 million in rebates have already been distributed. In order to keep the program going through 2012, an extension would be required.
Those opposed to the credit extension cite the hardships already being imposed on the state's education system as a reason not to devote further resources to the entertainment industry. The continuing economic difficulties across the country have led at least five states to end or suspend their filming incentive programs over the last two years.
Those in favor of the extension point to a study by the Los Angeles County Economic Development Corp. that found $3.8 billion had been added to the state economy, as well as 20,000 jobs, because of the tax credit. However, some question the reliability of the study, which was sponsored by Motion Picture Association of America.
The full extension has passed the Assembly, but the Senate has limited it to one year, provided the state reaches revenue targets through the rest of 2011. Those behind the extension may wait until the Legislature reconvenes in January to push for the full five-year extension.

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Sony 4K Camera To Ship in January, Starting at $65,000...

On the outskirts of Sofia, the capital of Bulgaria, a 75-acre former communist-era studio will soon draw a contingent of Hollywood heavies including Sylvester Stallone, Mickey Rourke, Bruce Willis and former California Gov. Arnold Schwarzenegger.

The testosterone-heavy ensemble will gather at Nu Boyana Film Studios on Sept. 19 to begin filming the second installment of "The Expendables," the hit movie about an elite group of mercenaries that garnered $275 million at the box office last year.

The $100-million movie is the latest large-budget feature to film at Nu Boyana Film Studios, which has become the go-to destination in Eastern Europe for Los Angeles-based filmmaker Avi Lerner since his company Nu Image acquired the sprawling complex in 2006.

The prolific film producer and financier has a reputation for stretching the value of each production dollar by scouring the world for the cheapest labor and tax breaks. After shooting films in Israel, South Africa and Canada, and building a 70,000-square-foot studio complex in Louisiana to take advantage of the state's generous film tax incentives, Lerner's latest large-budget action flicks have found a home in the ancient country on the Black Sea.

"It's the least expensive country in Eastern Europe to shoot in," Lerner said of the decision to film in the Balkan country.

Nu Image has poured tens of millions of dollars into upgrades to the formerly state-owned studio, which was built in 1962 and produced as many as 25 feature films per year during the communist era but fell into disrepair after the collapse of the Soviet Union.

The studio now employs about 1,000 workers and has 13 sound stages, with the largest more than 6,500 square feet, as well as a replica of several downtown Manhattan streets and a faux ancient Rome, complete with a coliseum.

Nu Image/Millennium has used Nu Boyana as its back lot on dozens of smaller-budget films and increasingly larger studio features, including "The Black Dahlia," the 2006 L.A. noir crime story produced by Universal Pictures and Millennium; and "Conan the Barbarian," Millennium's action franchise reboot that was released last month. Lerner's next large-budget action film, "Hercules," is already scheduled to start shooting atNu Boyana Film Studios in March.

Whereas the first "Expendables" was filmed mainly in Brazil and Louisiana, the bulk of the 14-week production for the sequel will take place in Bulgaria, in addition to locations in Paris, Moscow and China.

The second "Expendables," which will also include Chuck Norris, John Travolta and Jean-Claude Van Damme in its cast of aging American action stars, will be set primarily in a fictional Eastern European country. The production will use Nu Boyana's elaborate Manhattan sets, which span several blocks and include subway entrances, to depict a Soviet compound used to train soldiers on how to fight in America.

Nu Image is not the only local company expanding into Eastern Europe; Hollywood-based Raleigh Studios recently opened a sprawling 180,000-square-foot studio complex in Budapest, Hungary.

Despite having no tax incentives and facing competition from Hungary and the Czech Republic, both of which offer tax credits and skilled technical workers at relatively low cost, David Varod, chief executive of Nu Boyana Film Studios, insists that shooting in Bulgaria is still 40% cheaper than in other Eastern European countries and up to 80% cheaper than filming in the U.S. The minimum wage in Bulgaria, which relies on nonunion crews, is less than half of what it is in the Czech Republic and Hungary.

"Labor cost is the main difference," Varod said. "It's not always easy to convince producers to shoot in Bulgaria, but it comes down to the bottom line and it's cheaper."

Bulgaria could become even more attractive to filmmakers if the country adopts a film tax credit, which is expected to take effect next year, according to the Bulgarian National Film Center. "Incentives are on the way," Varod said.

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Irish Film & Television Academy (IFTA) Sets Up IFTA London...

Jim Sheridan, Ken Loach and Dearbhla Walsh attend soiree to herald fresh networking opportunities.

Comcast, NBC Uni sign deal with IFTA
The Irish Film & Television Academy (IFTA) is setting up IFTA London, aiming to birth a creative network between the Irish and U.K. film and television industries.

STORY: IFTA Unveils Production Conference Theme, Lineup

And to launch the fresh network, the Irish did what they do best: IFTA hosted an evening reception at the British Academy of Film And Television Arts' London HQ on Piccadilly.
IFTA Chief Executive Áine Moriarty told the gathered luminaries from both sides of the Irish Sea that there is "a great spirit of partnership, business and cultural links, between Ireland and the U.K." making the two "more than just neighbors."
STORY: Rachel Weisz, Jude Law and Anthony Hopkins ' '360' to Open London Film Festival
"The IFTA London initiative aims to help build a new network for the film & television communities," Moriarty said.

The IFTA London soiree had the backing of the Irish Film Board also whose chief executive James Hickey said the new umbrella network would be "a great opportunity for Irish talent to come together with key industry people from Ireland and the U.K. to network and develop strong working relationships."

Guests at the reception included directors Jim Sheridan, Ken Loach and Emmy winning Irish director Dearbhla Walsh.

As part of the IFTA London initiative, the Irish Academy also unveiled details of its planned roll-out of events in the British capital which will include a Jim Sheridan season to include a masterclass and retrospective of the Oscar nominated director's work.

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Wednesday, September 7, 2011

Migraines: Myth Vs. Reality

Migraines: Myth Vs. Reality

An Understanding of Migraine Disease & Tips for Migraine Management

Michael John Coleman and Terri Miller Burchfield of M.A.G.N.U.M.

"One pill makes you larger, and one pill makes you small and the ones that mother gives you, don't do anything at all," words the Cheshire-Cat could have uttered, but they came to us from Grace Slick in her iconoclastic lyrical interpretation of 'Alice In Wonderland'. Over a hundred years ago a fine art photographer took us on a wonderful journey through the eyes of Alice. The photographer-turned-writer drew from his personal experience with the disease he so suffered from, that of Migraine. His name was Lewis Carroll, and one may argue that if it were not for his constant Migraine attacks, he may not have been inspired to give us these gifts of fantasy by writing Alice's Adventures in Wonderland and Through the Looking-Glass and What Alice Found There.

After a century of society and the medical community blaming Migraines on their sufferers, advanced technology and the age of information gave us the knowledge to begin to understand this debilitating disease. However, dangerous and outdated myths surrounding the Migraine disease have not yet been dispelled on a widespread basis. Not only are such myths believed by many loved ones and co-workers of those with Migraines, but by those with Migraines themselves (Migraineurs). Furthermore, such myths continue to be unwittingly reported in the media. The Migraine disease is a serious health and disability problem that affects approximately 32 million Americans, most of whom are women, with up to 38 million Americans having Migraine genetic propensity. There is no known cure for the Migraine disease, only treatments for the symptoms. Furthermore, such treatments are not yet wholly effective and Migraineurs may show a diminished tolerance to a variety of medications, treatments, and pain management regiments.

Dr. Joel R. Saper, M.D., F.A.C.P., Director, Michigan Head-Pain & Neurological Institute, summarized for M.A.G.N.U.M. the problems associated with Migraine: "There is no condition of such magnitude that is as shrouded in myth, misinformation, and mistreatment as is this condition [Migraine], and there are few conditions which are as disabling during the acute attack."

In addition to being disabling, Migraines can be life-threatening. To put this in perspective, more people died from Migrainous Stroke last year than were murdered with handguns. The World Health Organization in 2004 in a Blue Book report noting that Migraine & Headache disorders are a global public health calamity. Dr Peer Tfelt-Hansen, president of IHS, explained:

"They are common neurobiological and often life-long conditions occurring throughout the world that affect men, women and children. They have been shown to cause a huge burden of disability. WHO ranks Migraine as one of the top twenty causes of years of healthy life lost to disability. And Migraine is but one headache disorder Ð all headache disorders together cause at least double the disability of Migraine alone."

Celebrities and historical figures with the Migraine disease include, among many, Vincent Van Gogh, Claude Monet, Julius Caesar, Napoleon, Ulysses S. Grant, Robert E. Lee, Virginia Wolfe, Lewis Carroll, Mary Todd Lincoln, Elvis Presley, Loretta Lynn, and beloved American President John F. Kennedy just to name a few.

It is important to arm yourself with the real facts and mechanics of this disease to improve your quality of life.

Set forth below are a few of the most common and devastating myths surrounding Migraine, and the corresponding facts that counter such myths. Once the facts are known, proper treatment can be sought by Migraineurs, both through medication and management of controllable Migraine triggers. You would be surprised how understanding your combination of trigger mechanisms will do more to reducing the number and frequency of attacks than a prophylactic drug regiment (taking multiple drugs several times a day, every day, as a preventative treatment).



MYTH: A MIGRAINE IS JUST A BAD HEADACHE.

REALITY: MIGRAINE IS A DISEASE, A HEADACHE IS ONLY A SYMPTOM. IN ADDITION, THE CAUSE OF MIGRAINE PAIN IS THE OPPOSITE OF THE CAUSE OF HEADACHE PAIN.

Migraine is disease, a headache is only a symptom. Migraine pain is caused by vasodilation in the cranial blood vessels (expansion of the blood vessels), while headache pain is caused by vasoconstriction (narrowing of the blood vessels). During a migraine, inflammation of the tissue surrounding the brain, i.e., neurogenic inflammation, exacerbates the pain. Therefore, medicine often prescribed to treat a headache, such as beta-blockers, dilate the blood vessels and therefore can make a Migraine worse.

Unlike a headache, the Migraine disease has many symptoms, including nausea, vomiting, auras (light spots), sensitivity to light and sound, numbness, difficulty in speech, and severe semihemispherical head pain. One Migraine attack alone can last for eight hours, several days, or even weeks.

Migraine is a genetically-based disease. We first learned this in the mid-90's, as it was specifically stated in correspondence with M.A.G.N.U.M. by Dr. Stephen J. Peroutka, M.D., Ph.D., President & CEO of Spectra Biomedical, Inc., a group of research physicians dedicated to understanding the genetic basis of Migraine and other illnesses, the "data are unequivocal: Migraine is a genetically-based illness. Individuals with a single parent having Migraine have approximately a 50% chance of having Migraine. This susceptibility is neither psychological nor induced by environmental causes."

The the really exciting genetic discoveries where yet to come! And it came from down under by an Australian genetic research team at Grithiths University, north of Sydney. The Millennium year was a breakthrough year for Migraineurs as the Australian team, lead by Professor Lynn Griffiths, discovered not one, not two, but three genes for Migraine disease! MAGNUM had the opportunity to interview Dr. Lyn Griffiths, one of the world's top experts on Migraines and genetics. Dr. Griffiths is the director of the Genomics Research Center at the Gold Coast campus of Griffith University, in Queensland, Australia. She told us that the research clearly shows that almost all Migraineurs have a close relative who is also a Migraineur. Migraineurs have a real ally in Dr. Griffiths as we where very impressed with her resolve for follow her research as far it goes, which just may lead us to a cure in the future.

A Migraine is induced by various controllable and uncontrollable triggers. Uncontrollable triggers include weather patterns and menstrual cycles, and controllable triggers include bright light, aspartame, and alcohol. The severity and frequency of Migraines for one person depends upon how many triggers an individual must experience before a Migraine is induced. The combination of triggers is different for each person.



MYTH: MIGRAINE IS CAUSED BY PSYCHOLOGICAL FACTORS, SUCH AS STRESS AND DEPRESSION.

REALITY: MIGRAINE IS A NEUROLOGICAL DISEASE, NOT A PSYCHOLOGICAL DISORDER.

Migraine is a true organic neurological disease. A Migraine is caused when a physiological (not psychological) trigger or triggers cause vasodilatation in the cranial blood vessels, which triggers nerve endings to release chemical substances called neurotransmitters, of which the neurotransmitter serotonin (5-HTT) is an important factor in the development of Migraine.

Dr. Saper stated in his endorsement letter to M.A.G.N.U.M. that "[Migraine] is not a psychological or psychiatric disease but one which results from biological and physiological alterations." Similarly, Dr. Fred D. Sheftell, M.D., Director and Founder for the New England Center for Headache specifically stated in his letter of endorsement that "Migraine is absolutely a biologically-based disorder with the same validity as other medical disorders including hypertension, angina, asthma, epilepsy, etc. Unfortunately, there have been many myths perpetrated in regard to this disorder. The most destructive of which are 'It is all in your head,' 'You have to learn to live with it,' and 'Stress is the major cause.'"

Misdiagnosis of Migraine as a psychological disorder can lead to a doctor prescribing unnecessary, counterproductive, and even dangerous medication. It is common for a Migraineur to be diagnosed, for example, with clinical depression and prescribed unnecessary drugs, leaving the Migraines unaffected. The continued presence of the Migraines may lead the doctor to believe that the Migraineur is unable to "handle" problems and is still "depressed", leading to continued unnecessary drug treatment ... and so on.

As mentioned above, the Migraine disease is induced by various trigger mechanisms. Trigger mechanisms can be broken down into two primary categories: uncontrollable and controllable. The Migraine triggers usually work in combinations.

Remember, Migraine is a disease that involves a heightening of one's senses, all of one's senses. A Migraineur is more sensitive to his or her surroundings, including light, sound, smells, taste (chemicals in foods), and touch (including the touch of the atmospheric pressure on one's body). Awareness of one's environment is critical for a Migraineur.

A good example of an uncontrollable Migraine trigger is weather patterns. Germany, for example, offers a telephone number that people such as weather-sensitive Migraine sufferers can call to find out the risk to their health of that day's weather pattern. A recent study entitled "The Effects of Weather on the Frequency and Severity of Migraine Headaches" conducted in Canada arrived at the following conclusions: 1) "Phase 4" weather, characterized by a drop in barometric pressure, the passing of a warm front, high temperature and humidity and oftentimes rain, is closely associated with higher frequency and severity of Migraine attacks.; 2) a high humidex discomfort index during the summer is associated with an increased frequency of Migraine attacks; 3) wind from the southeast was shown to be associated with more attacks than wind from any other direction; and 4) a number of Migraine sufferers may be sensitive to extreme rates of barometric pressure changes.

Another common uncontrollable trigger is the menstrual cycle. As explained by Dr. Stephen D. Silberstein, M.D., F.A.C.P., Co-Director, The Comprehensive Headache Center at Germantown Hospital and Medical Center, Migraine usually develops around the time of the first menstrual period, called the menarche. The Migraine appears to be the result of falling levels or reduced availability of estrogen. Migraine sometimes becomes worse in the first trimester of pregnancy, but many women are Migraine-free later in their pregnancy. Menstrual Migraine is often more difficult to treat than other types of head pain. Women who have Migraines only with their period can often achieve relief by taking preventive (prophylactic) medication just before their period begins. If severe menstrual Migraine cannot be effectively controlled by any of these medications, hormonal therapy is a possibility.

Controllable triggers, on the other hand, include bright light, chemical smells, second-hand smoke, particular alcohols such as red wine and some hard alcohols such as scotch, foods that are known vasodilator such as fish, some chocolate, aged cheese, and foods which contain nitrates and/or the radical vasodilator MSG.

Therefore, if one avoids controllable triggers during Migraine-weather or menstrual cycles, one may be able to escape a Migraine attack. Another tip: take abortive medication prescribed for Migraine at the earliest sign of a Migraine attack. Oftentimes, if one waits to take the medication until the attack has matured, the medication may prove practically ineffective. The drugs commonly prescribed to Migraineurs fall into two groups: abortive and preventative (prophylactic). There are some common problems and adverse effects associated with a host of the medications. Some of the more pronounced are: from abortive drugs, dizziness from Stadol, tolerance to barbiturates, rebound headache from overuse of Ergotamine and over-the-counter non-narcotic analgesics (e.g., Tylenol, aspirin and NSAIDS); and from preventative drugs, beta-blockers and calcium channel-blockers can trigger headaches/Migraines. Get to know your pharmacist, he or she can be an important source of information.



MYTH: MIGRAINE IS NOT LIFE THREATENING, JUST ANNOYING.

REALITY: MIGRAINE CAN BE LIFE THREATENING, INDUCING SUCH CONDITIONS AS STROKE AND COMA.

Migraine can induce a host of serious physical conditions: strokes, aneurysms, permanent visual loss, severe dental problems, coma and even death.

According to the New England Journal of Medicine, "migraine can sometimes lead to ischemic stroke and stroke can sometimes be aggravated by or associated with the development of migraine." Twenty-seven percent of all strokes suffered by persons under the age of 45 are caused by Migraine. Stroke is the third leading cause of death in this country. In addition, twenty-five percent of all incidents of cerebral infarction were associated with Migraines, according to the Mayo clinic. Most recently the British Medical Journal reported that after evaluating 14 major Migraine & stroke studies in the U.S. and Canada that Migraineurs are 2.2 times greater risk for stroke than the non-migraine population. That risk goes up to a staggering 8 times more stroke risk for women Migraineurs on the pill!

Migraine and epileptic seizure disorders are also interrelated. The most intimate interrelationship between the two being Migraine-triggered epilepsy. Migraine affects up to 15% of the epileptic population. In basic terms, Migraine and Epilepsy are both disorders characterized by paroxysmal, transient alterations of Neurologic function, usually with normal Neurologic examinations between events (attacks).

Not only can the Migraine disease be life threatening, but it can have a devastating and disruptive effect on normal living. Migraine sufferers experience not only excruciating pain, but social ostracism, job loss, disruption to personal relationships, and prejudices in the workplace.

Oftentimes people think that those with Migraines just can't handle life, or, in reality, are drug addicts or alcoholics. Such perception can be formed when, for example, people see a Migraineur wearing sun glasses indoors (photo sensitive), lying in a dark and silent room (photo and sound sensitive), making frequent trips to the rest room (nausea and vomiting), leaving early, working late, slurred speech, all what they may think is erratic behavior. According to Dr. Sheftell, "Historically, patients with the most intractable Migraines experience a downward spiral in terms of income and contributions to society at large."

Also, a recent study showed that the loss of labor time and lost productivity of Migraine sufferers may exact a significant toll on U.S. business. According to a position paper signed by the American Academy of Pain Medicine, et. al., 150 million work days per year, equivalent to 1,200 million work hours, are lost each year to head pain. The corresponding annual cost to industry and the health care system due to Migraine amounts to $5 to $17 billion.



MYTH: ANY DOCTOR WILL RECOGNIZE AND PROPERLY TREAT MIGRAINE.

REALITY: MIGRAINE IS ONE OF THE MOST MISDIAGNOSED, MISTREATED AND LEAST UNDERSTOOD DISEASES.

The fact that so many doctors don't take Migraine seriously can be as disabling to the Migraineur as the disability itself. The leading doctors in the areas of neurology and head pain have themselves stated that this disease is grossly misunderstood and misdiagnosed. In fact, 60% of women and 70% of men with Migraine have never been diagnosed with this disease. This medical ignorance and corresponding inaccurate writings unfortunately perpetuate the myths and misunderstandings about Migraine and convey this to the general public.

Dr. Saper stated that "Migraine is a serious and underestimated health problem ... Patients with Migraine are shunted along an assembly line of misdiagnosis, undertreatment, or frank mismanagement. They are subjected to unnecessary procedures and preventable consequences." And as Dr. Silberstein wrote to M.A.G.N.U.M., "Migraine sufferers must not only cope with their pain, but also with society's misunderstanding of the disorder. Migraineurs are frequently dismissed as neurotic complainers who are unable to handle stress. The truth is that they frequently battle against great odds in order to hold down jobs and support families ... Young Migraine sufferers sometimes miss enough school so that they are unable to graduate with their peers."

Similarly, Dr. Sheftell stated "In addition to misdiagnosis and under-diagnosis, Migraine sufferers will bear the brunt of discriminatory policies by a variety of health care agencies." Such agencies may deny reimbursement for emergency room visits and for hospitalizations for the most severe sufferers. It is not uncommon for doctors to think that a Migraine sufferer is in the emergency room to receive drugs, and dangerously turn them away.

Because Migraine is a genetically-based disease, severe Migraine, according to Spectra Biomedical, "will be diagnosable by objective DNA tests with in the next few years. These tests should also lead to a significant improvement in the disease management of this common and often disabling illness."

Improved health care related to the Migraine disability is one way in which M.A.G.N.U.M. is working to improve the life of Migraineurs. M.A.G.N.U.M. is working with U.S. Senator Charles Robb to include Intractable Migraine in the Code of Federal Regulations "Listing of Impairments" Parts A & B. This is an immediately achievable health care reform on which Senator John Warner (R-VA) & Congressman James Moran (D-VA) have committed to work with M.A.G.N.U.M. on.

According to the world’s leading Migraine disease epidemiologist, Dr. Richard Lipton, of the Albert Einstein College of Medicine of Yeshiva University, -- "Education and empowerment are the keys to successful Migraine management. Patients, who understand their disease, identify their triggers and learn to use both behavioral strategies and medications effectively can dramatically reduce their burden of illness." MAGNUM in working hard to continue to empower Migraineurs by keeping access to quality information about their disease ever available and current.

We are far from a cure, let alone a sure-fired treatment, for Migraine. But understanding that Migraine is a real and debilitating disease goes a long way toward improving the quality of life for Migraineurs and their loved ones.

And if you are not a Migraine sufferer, then remember the next time you offer advice to the person in your life that suffers from Migraines, make sure it's not toxic (i.e., you need to avoid stress, cheer up, don't drink Coke, or other well-meaning but emotionally debilitating statements). Rather, offer to turn down the lights and the TV, and let them know you understand. Remember: Migraine is an "invisible" disorder. "Well! I've often seen a cat without a grin," thought Alice; "But a grin without a cat! It's the most curious thing I ever saw in all my life!" Like Alice's Cheshire-Cat who sat in a tree revealing himself only to Alice, he nonetheless had great impact on her daily travels, as Migraines do on individuals who suffer from them.

( Michael John Coleman and Terri Miller Burchfield are both Executive Board Officers of M.A.G.N.U.M.: Migraine Awareness Group: A National Understanding for Migraineurs, a non-profit health care public education organization dedicated to bringing public and government awareness to Migraine as a true organic neurological disease. Mr. Coleman is a nationally-recognized artist who has suffered from intractable Migraines since the age of six. If you would like further information or would like to help M.A.G.N.U.M. achieve its goals, please contact them at 100 North Union Street, Suite B, Alexandria, VA 22314 phone: (703) 349-1929 fax: (703) 739-2432 web: www.migraines.org )

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Monday, September 5, 2011

Hollywood lobbies to extend tax credit for California filming

Hollywood moguls and unions ask California Legislature to extend a $500-million tax credit for film and television show productions in the state.

Hollywood is lobbying the California Legislature to grant a five-year extension of tax credits that the industry maintains are necessary to keep jobs in the state. (Ann Johansson / For The Times / February 11, 2010)

By Nicholas Riccardi and Richard Verrier, Los Angeles Times
September 4, 2011, 7:25 p.m.
Hollywood wants a $500-million blockbuster out of Sacramento.

In the final days of the legislative session, the industry is seeking a five-year extension of a tax credit for producing films and television shows in California. It has assembled a powerful coalition of moguls and unions, who argue that failing to re-up the program risks losing film jobs to states offering even more generous rebates.

That is something, advocates argue, that the state with the second-highest jobless rate in the nation cannot afford. "This is a proven program that creates jobs and stimulates the economy," said Vans Stevenson, senior vice president of government affairs for the Motion Picture Assn. of America. "Our companies are all based in California, and we want to see the industry grow here."

But California is also the state with the largest budget deficit, and opponents balk at reserving $500 million for industry incentives at a time when lawmakers are slashing social services, laying off teachers and raising tuition at public universities.

"It's a little unusual to me that a Democratic-controlled Legislature would give $500 million to corporations when they've so viciously cut poor people and sick people over the last four years," said Dave Low of the California School Employees Assn., one of the few unions to oppose the measure.

The debate comes as many states — spurred by the economic downturn — have begun to question the efficacy of using public money to lure film production. At least five states have ended or suspended their programs in the last two years.

Still, nearly 40 states continue to have some sort of film incentive, and there is little doubt that many have poached productions from California. "Battle: Los Angeles," for example, was filmed mainly in Louisiana, which has an aggressive program to lure Hollywood shoots. The HBO series "Mildred Pierce" was set in Glendale but filmed in New York. Producers had to import palm trees.

The proposal to extend California's film credit sailed through the Assembly. But in the Senate, the extension was limited to $100 million over a single year, contingent on the state hitting revenue targets through 2011. Should they drop, up to $4 billion in cuts would land on colleges and kindergarten-through-12th-grade education in January.

"I don't think it would be the right signal to extend the tax credit under those circumstances," said Senate President Pro Tem Darrell Steinberg (D-Sacramento).

But a single-year-extension, the bill's backers say, is not enough. "It's important for us to … signal to the industry that California is committed to [its] future," said Assemblyman Felipe Fuentes (D-Sylmar), author of the bill.

The initial tax credit passed as part of the 2009 budget deal between the Democratic Legislature and an avid film industry supporter, Gov. Arnold Schwarzenegger. The $500-million program gives a rebate of up to 25% of qualified production expenses. It can be used to offset any sales or business-use taxes that production companies have with the state but cannot be used to pay actors' salaries.

"The people this benefits aren't living in Brentwood or Beverly Hills," said Thom Davis of Local 80 of the International Alliance of Theatrical Stage Employees, noting that large film shoots employ up to 300 cast and crew members, such as grips and camera operators. "They live in Reseda, Burbank and North Hollywood. Every time one of my members isn't working, they are collecting unemployment benefits. And that doesn't benefit business or the California economy."

Although the initial program ran through 2014, more than $400 million in rebates — which are allocated on a first-come, first-served basis — have been distributed. The last ones are expected to go out next summer. Fuentes said that if he can't persuade the Senate to grant an extension of more than one year, he may opt to try again when the Legislature reconvenes in January. For the program to continue in 2012, a two-thirds vote of the Legislature would be needed to implement it on an expedited basis.

In arguing for a full extension, advocates cite a study by the Los Angeles County Economic Development Corp. that found the program so far had pumped $3.8 billion into California's economy and created 20,000 jobs.

Skeptics noted that the study was sponsored by the MPAA and that some examinations of other states' programs have found they don't create enough jobs to recoup their cost.

Jean Ross of the California Budget Project, which advocates for greater spending on social services, said that the annual $100-million cost of the credit is about the same amount the Legislature has hiked community college fees. "In essence," she said, "we have taxed community college students to give a tax break to Hollywood."

thanks the Los Angeles Times !

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The Devil and Demian Bichir

By ALEX KUCZYNSKI

You can learn a lot about a man by the way he disembowels an avocado.

Demian Bichir, the Mexican film star, stood in my kitchen at lunchtime testing the pile of avocados on the counter. He wanted to make guacamole the way he used to as a busboy at Rosa Mexicano in the 1980s, during his first sustained lap as an actor in the United States. Instead of a contrived lunch date at a restaurant, digital recorders whirring, he decided to come over to my apartment with a bottle of Patrón tequila and his hands ready for cooking.

I had prepared the molcajete, the traditional Mexican version of a mortar and pestle, and gathered the onions, cilantro, tomatoes, jalapeños, avocados and habaneros. (“Habaneros?” he said. “If you want to kill somebody.”) I stashed the tequila in the freezer.

“This one doesn’t feel right,” he said, touching an avocado’s papery skin. “But this guy, and this guy” — he reached for another and, squinting, palmed the fruit as gently as if it were a bird’s egg ready to hatch — “and this guy are perfect.” Within a second, a six-inch Wüsthof cook’s knife had sliced the avocado in half and Bichir, looking into my eyes, brought down the knife into the palm of his hand with a thwap.

Oh, God. Do we call an ambulance?

No. Locking the pit onto the blade of the knife, he worked it free in a deft corkscrew motion, accompanying his Kabuki with sound effects. “Poom, poom, poom. Whish.” He cross-hatched each side — “pap, pap, pap” — and spooned out the perfect square chunks into the molcajete.

Delicacy, precision, startling force: these are qualities that defined Bichir’s performance in “A Better Life,” a remarkable film that has cemented his reputation as a formidable talent in Hollywood. A household name in Mexico for two decades, he has become familiar to American audiences in recent years as Fidel Castro in Steven Soderbergh’s “Che” and as the brutally handsome, morally Manichean mayor of Tijuana and husband to Mary-Louise Parker in Showtime’s totally twisted, insanely entertaining Emmy-winning series “Weeds.”

The son of a Mexican theater director and an actress, Bichir is one of three acting brothers — Odiseo, Demian and Bruno— so famous for their prolific output that in 2003 the Mexican MTV Movie Awards created the category “Best Bichir in a Movie.” (Demian won.) He grew up in the barrios of Mexico City, poor but surrounded by books. “My parents met in the theater, and they grew up loving theater, and when my brothers and I decided to become actors, we had all we needed in our library at home,” he said.


Everett Collection
Bichir as an undocumented gardener in Chris Weitz’s new film, “A Better Life.”
In “A Better Life,” Bichir is Carlos Galindo, an illegal immigrant from Mexico who scrapes out an existence as a gardener, peering in at an American dream of swimming pools, housekeepers and big cars in the Hollywood Hills. When Carlos’s sister lends him enough money to buy a truck, which would catapult him from day laborer to gardening boss, he hesitates: she hasn’t told her husband she has taken the money out of their savings account. And there is so much more at stake. Carlos has no driver’s license, so being pulled over means instant arrest, deportation and separation from his son, whom he has raised as a single father.

He buys the truck; the next day, in an act of insidious betrayal, it is stolen. One of the tougher scenes to watch is one in which Carlos stands on a busy street, his work clothes briny with sweat, his eyes fruitlessly searching the traffic for his truck — the dream that will rescue him and his child from their gang-controlled East L.A. barrio, that will allow them to live in a house with more than one bed and one sofa. His eyes alight on a police officer, yet he can’t ask for help. In Bichir’s face, we see that Carlos knows his situation is utterly futile, and he and his child are vulnerable. The sense of despair and desperation is all-encompassing.


Bichir calls it one of the most important works of his career, “and for an actor,” he added, “the character of Carlos Galindo has the same dimension and depth as Lear or Hamlet — it’s that powerful.” When he first met with Chris Weitz — whose grandmother Lupita Tovar was perhaps Mexico’s most famous actress — the director told Bichir that he was not going to make an overtly political film, but that he would set out to present a simple, powerful story that happened to have as one of its themes the Mexican immigrant experience.

“I didn’t see any gimmicks, any Hollywood tricks,” Bichir said. “I need to be moved and for something to speak to me truthfully.”

While the movie is political, certainly, Weitz (director of “About a Boy,” “The Golden Compass” and “The Twilight Saga: New Moon”) chose to tell the story of Carlos Galindo as a piece of social realism, rather than as political propaganda. However, as Weitz told me, “the moment you train a camera on someone, especially a film camera, you say they are worthy of being paid attention to, and it elicits sympathy. In that regard, the film is political by default.” But he chose not to push that button too hard and risk “turning Carlos into a symbol rather than a closely observed character,” he said. In that sense, “A Better Life” is a story about the delicate relationship between a father and son, about loss of culture, about isolation, about the spiritual lives of two nations.

Bichir moved to New York when he was 22. “My mother said, ‘What? You can’t move there! They shoot people at 2 o’clock in the afternoon! Oh my God!’ ” He auditioned at Lee Strasberg and was told he was already an actor and he should save the $5,000 tuition. “And that’s when I stopped acting,” he said. “I wanted to give my actor a break. I wanted to live and to learn English. I wanted to be anything, a cabdriver, a busboy, anything to keep me away from acting for a while.”

Thus, his stretch as a busboy at Rosa Mexicano, where his job included making guacamole in front of each customer’s table. “I think I still hold the record for making 39 guacamoles in one lunch,” he said. Then on to Los Angeles, where he spent four years going on auditions and trying to land a role. “Nothing happened,” he said. “It was hard, really hard.” When he was offered a role in “Hasta Morir,” he took it, returning to Mexico, where he won an Ariel, the Mexican equivalent of an Oscar.

In Mexico, he worked all the time. “And then one day, I was about 41, and I pictured my life,” he said. “Soon, I would be living in a house with a big swimming pool, drinking a bloody mary and thinking, what if I had tried a little harder? Been a little more adventurous? Tried a little longer?” Divorced, with no attachments, he moved back to L.A. “Something had fundamentally changed in me, in my hard drive.”

While serving on the jury at the Ibiza Film Festival, he got a call at 5 in the morning from Steven Soderbergh, who asked him to play Castro in his biopic about Che Guevara. “And that was when it all began,” he said. “That was when everything changed.”

I first met Bichir before a screening of “A Better Life” in New York. Slender, animated, almost impish, his green eyes alight, he reminded me of a self-effacing Fred Astaire. “I’m writing a serious piece about you,” I said. “Because I’m — such—_ a serious actor?” Each word dropped with a beat of expert comic timing, as if to say: I. Am. Not. A. Serious. Actor. Lady. Get. A. Life.

As the film began, I couldn’t place the man I had just met on the screen. The wiry, bright-eyed comic in the lobby was replaced by a heavyset man whose face had been eaten away by weariness and fear, his eyes dull, the barest flicker of light left in them to suggest his soul was still alive way down inside.

Bichir is somewhat of a Method actor: he immersed himself in a life like Galindo’s by driving a gardener’s truck — which he bought off the street from some paisanos — wearing the same unwashed clothes for days, sleeping four hours a night. One of the film’s producers told me that two Mexicans spotted Bichir in L.A., in his gardener’s truck and shook their heads, saying, “Look, man! That’s Demian Bichir. He’s sure fallen on hard times.”

Yet he has such a light, comic gift, it was hard to watch him make guacamole and think that this was the same man who so brilliantly captured Castro’s threatening physicality, the curlicued accent, the voice veering from thunderous to almost ethereal, the powder-keg personality. Difficult to imagine this funny guy dancing salsa in my kitchen to Akwid’s “California” (a song from the soundtrack to “A Better Life”) as the gangster mayor who orders murders and makes a point to his pregnant girlfriend by basically raping her over his desk.

“It is extraordinary, Demian’s vitality in contrast to the performance he gives,” Weitz said. “All of the energy goes underground.” Benicio del Toro, who worked with Bichir on “Che,” describes him as one of the strongest actors he’s worked with. For the part of Castro, del Toro said, Soderbergh “needed someone who was strong but not someone who looked like he was acting strong. And that is kind of hard to find. Pacino can be strong without acting strong. Hoffman, too. Bichir has that quality, that gravitas.”

“We all have that capacity, to be two things,” Bichir said. “And after all I was named for both the devil and the angel. Demonio y angel. Dem-y-an.” (His parents took his name from the Herman Hesse novel “Demian: The Story of Emil Sinclair’s Youth.”)

Oliver Stone was drawn to the demonic side, and cast Bichir as a huckster in his next movie, “Savages,” based on a Don Winslow novel about pot growers and Mexican drug cartels. “He can play heavy,” Stone said, adding that “all he needs is one big role as a narcotraficante and if he hits that note just right he will have a worldwide reputation in a second.”


Everett Collection
Bichir in his role as a drug dealer and mayor of Tijuana in “Weeds.”
Mary-Louise Parker, who played his lover and then wife on “Weeds,” also believes he plays good guys, like Carlos Galindo, with an almost sacred perfection. “I might use a word that sounds pretentious, but his performance was almost holy,” she said. “It was beyond being just about depth. He made the film into a Greek tragedy. And he is one of the few actors I know who could make that part humane.” And this from a woman who broke her toe during their first, unexpectedly vigorous love scene. “He is pretty delicious,” she added.

Bichir is dating but admits he is “really bad at long-term commitments.” He did become a father in May; the child is the product of a brief — “and beautiful, please, beautiful, beautiful” — romance in Spain last year. “I try to be as clear as I can be,” he said. “I don’t hide or play stupid games. I try to let everyone know that eventually I will probably be leaving.” In this case, a couple of months after his leave-taking, he got an e-mail informing him he would be a father. Bichir attended the baby’s birth, and she has his surname. “I decided to be there and not run away from the situation. I am her father, and I will love her forever,” he said.

At 48, Bichir feels as if he has experienced a kind of rebirth. “It is a before-and-after moment, for sure,” he said. After the meal and almost an entire bottle of tequila, we were looking out at the city. It was late afternoon. His roles as Castro, as Carlos Galindo and as Miguel Hidalgo in a Mexican production out this year about the country’s founder, are the work he is proudest of. “It would be sad,” he said, “if my best work had been 20 years ago and now I only had memories.”

He also makes great guacamole.

Thanks NY Times

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Summer Blockbusted 2011: Studios Still Sinking Too Much into Sequels...

Summer Blockbusted 2011: Studios Still Sinking Too Much into Sequels

By: Simon Brookfield | 08.31.11 (10:28 AM) | (27) Comments

So how does this "toss money at the problem" phenomenon stack up to last year? Back on an eve of August in 2010, as the summer movie season was nearing its annual stage of hibernation, I felt a burning necessity – more than any year before – to delve deep into the often perplexing machine that is Hollywood and why, perpetually, they expect bundles of cash tossed at the silver screen will not only yield a product that audiences will adore, but will line the pockets of executives in turn.

It was becoming clear that the surges in summer sequels was beginning to wear on the average moviegoer. Returns dipped sharply from their predecessors in almost every instance and reviews were consistently middling. Now in 2011, adding another level of intrigue to the collective performance of the films across the hottest months of the year was the rapidly expanding importance of the international market and the gargantuan surge in 3-D offerings.

A year ago, as Iron Man 2 blasted its way to number one at the box office with a sizzling $128-million opening, many were nevertheless feeling the effects of a lackluster first four months at the cinema, and as August rolled around studios twiddled their thumbs nervously as they witnessed attendance plummeting to new lows.

This summer the gap has only widened. May seemed to offer a revival, posting the best month of all time with $1.037 billion in combined revenues, above 2010`s which ranked seventh. June, however, saw its grosses dive to fifth; July a solid bump thanks to Harry Potter and the Deathly Hallows Part 2 and Transformers: Dark of the Moon and August was met with atrocious returns not even registering in the top 10 (even 1999’s proceeds rank seventh).

As I iterated in last year's piece, which you can read here, it is this ebb in profit that spurs studios to search for a way to fill seats and excite the masses, which, sadly, equates to injecting pictures with larger doses of cash, slapping on an extra dimension and watering down ideas with effects and flashy action. But I do digress, as FX and money do not by any means have to equate to an inferior product, evidenced by Inception last year and “Harry Potter,” Rise of the Planet of the Apes and X-Men: First Class this summer. GCI can enhance a strong script — a filmmaking staple all too rare in this modern blockbuster age.


The budget of a film is spread throughout a number of principle expenses including the story rights, the screenplay, producers, directors, actors, visual effects, music and the actual production costs. Higher profile filmmakers and thespians can demand upwards of $20 million plus a percentage of final receipts. Depending on the type of film being produced, the visual effects allocation can balloon towards $100 million alone.

Without delving into the drier technical aspects regarding tax breaks, co-productions between studios and joint distribution projects, the rule of thumb is that if a film’s gross equals its negative cost it has shown a profit. Meaning, that after the sum of the production budget is tallied, a film must double that amount to become profitable; $100 million total budget, $200 million final gross, etc. This equates to the big name production houses such as Fox and Paramount, to name a few, receiving roughly half of the ultimate sum and after having potentially sunk years into a film, receiving $100 million on a budget of the same (a.k.a. breaking even) does not look good when it comes to the annual report.

So how does this “toss money at the problem” phenomenon stack up to last year? Well, a small miracle to be found is that we have had the same number of films costing $100 million-plus in 2011 as we did last summer, 14, but with one more movie exceeding the whooping $200-million cost mark. Taking inflation out of the equation to keep things simpler, as we rounded into the aughties we had less than one third as many flicks carrying monster budgets and all of those became thundering successes. The “re” craze (remake, reimagining, reboot) coupled with sequel fever also maintained its stranglehold on the industry, seeing those phenomena rise from a combined two in summer 2000 and 2001, to 13 in each 2009 and 2010 up to a whopping 17 over just four months this year.

Following the success – I use the word success as the English language has not yet invented a word to justifiably express the James Cameron phenomenon – of Avatar, 3D has run rampant over Hollywood as a means to curb these ballooning costs and lack of audience interest. But as irony would have it, those crafty viewers quickly caught on to the game.


As the first weekend of May usually would demand it, things debuted with a bang as Marvel’s Thor took number one with $65.7 million; a gross achieved thanks to a 60 percent share in 3-D screens. From then on, audiences clung to their money for dear life as only 45 percent came from the extra dimension for “Pirates 4,” Kung Fu Panda 2, and Green Lantern. Cars 2 sank to 40 percent, but things peaked with “Transformers 3” before sinking to summer low of 38 percent with Captain America: The First Avenger. I could mention a late summer surge from Final Destination 5, Conan the Barbarian and Fright Night, but that would be ever the moot point as they all ranged from disappointments to mammoth flops anyways.

This attempt to traverse the chasm left by greatly shrinking attendance was met with failure in North America as two sequels, “Potter” and Fast Five, saw their grosses rise above that of their predecessor and only one, all summer, witnessed a gain in attendance and that is the aforementioned oddball smash Fast Five. To date this year, the U.S. and Canada have only produced five $200 million-plus grossers and but two exceeding $300 million. Even the poor showing of 2010 had 10 of the former by the end of January and four of the latter; I would say Christmas season had better be a strong one. Oh, and did I mention we have only a sole $100 million-plus opener thus far when last year had four to its name by New Years?


Glancing worldwide, however, reveals a vastly different tale ripe with hints at how the global film industry will be shaped over the next decade. Three movies (“Potter,” “Dark of the Moon” and “Pirates 4”) have broken the billion-dollar threshold, but garnered a respective 71 percent, 68 percent and 77 percent from international markets, which leaves the stateside receipts in their proverbial dust. Expanding to the top 10 worldwide grosses of 2011 thus far, even the lowest share from overseas is still 56 percent from The Hangover: Part II and stretching further yet, the 23 of the top 50 films of the year that premiered in summer averaged 51.5 percent overseas take, and without American comedies, the share widened to 59 percent.

Numbers may be the foundation of Hollywood, but I will retreat with my barrage for now. Down to the simple and true point: the movies are dying and ironically it is the season of big-budget fun. What once was the time of year that used to regularly invigorate, is now ultimately leading us down a black hole of rehashed ideas, money-grubbing gimmicks and soulless, empty shells of what used to be considered fun. As much as it may seem contradictory to the way things have been progressing over the past 10-20 years, cinema enthusiasts and average Joe movie-goer will turn out for a superior product even if you pocket that extra $50 million for a few smaller films at another date. I do not want the remaining energy of blockbuster season drained and replaced by the serious and oft pretentious nature of awards season by any means; that already has its place on the cinematic landscape. All I want and all we need is “progress” kept in check and the focal point of the summer months to be balanced between the desire to turn out a quality project and stuff one's mattress with green.


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Hulu to Launch in Japan...

UPDATED: Content deal includes "CSI" franchise and marks the streaming firm's first overseas expansion.

TOKYO – Hulu will launch its first international operations with a subscription service in Japan, offering streaming of CBS shows, such as CSI: Crime Scene Investigation, CSI Miami, CSINY, NICS and 90210, under a content deal with CBS Corp..

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The ad-free service will allow unlimited access to movies and a library of shows, including Numb3rs, Star Trek and Twin Peaks, for 1,480 yen ($19) per month from web-connected TVs, game consoles, Blu-ray players, smartphones, tablets and PC's "With the launch in Japan, Hulu is focused on adding meaningfully to the entertainment choices available to Japanese consumers, while providing a valuable new channel for distribution, increased consumer reach and incremental monetization for our premium content partners," said Johannes Larcher, SVP of international for Hulu.

Hulu announced in August that its first overseas operation would be in Japan, and opened an office in Tokyo, though no further details were given at the time.

"We're thrilled to have CBS's world class content be part of Hulu's first international market and their new venture in Japan," said Armando Nuñez, president, CBS Studios International.

Thank you Hollywood Reporter

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